What is the value of a human life?
That's the basic question posed by "Saving Private Ryan," the most potent work of filmmaking yet this year. It is a question well worth asking more often than we do, one that is answered with startling eloquence and visceral realism. The film stands among Spielberg's best work, and ranks with the greatest war films ever made.
The film opens with a short, quiet prologue, where we follow an elderly man into the memorial cemetary at Normandy as he visits a grave. We do not see the name on the gravestone, nor learn the identity of its visitor, until the film's epilogue.
In between we are taken on a gripping and searing journey through one of the great turning points and defining events of human history -- first bearing witness to the horrific struggle to take Omaha Beach on June 6, 1944. Upon landing, the sands are showered in a relentless rain of supersonic steel, slicing mercilessly through more soldiers than one can count. The sea burns red with blood and the beach is littered with the ravaged remains of fallen heroes. The combat we find ourselves immersed in is as vivid and graphic as any ever recorded on film. It is a sense-stunning filmgoing experience that lasts 24 minutes.
But it is only the beginning of the story which unfolds as Captain John Miller (Tom Hanks) receive orders to locate Private James Ryan (Matt Damon), who is to be returned home following the deaths of his three brothers in combat. Miller assembles his men, and they embark on a quest which they soon grow to resent, as they are forced to pay a terrible price for someone whom they doubt has earned it. This leads to the central issue the film deals with, which is discussed somewhat in dialogue, but primarily through action.
And we get to know the characters as they get to know each other. The incredibly gifted Tom Sizemore gives an unforgettable performance as Sgt. Horvath, Miller's right hand man. Ed Burns shines as the cynically defiant Private Reiben, and Adam Goldberg (who I fondly remember from "Relativity," which I only wish I had every episode of on tape) provides a truly outstanding performance as Private Mellish. In fact, the performances are strong across the board. Jeremy Davies (bearing an eerie resemblance to Henry Thomas, by the way) is memorable as the timid translator Corporal Upham, as is Giovanni Ribisi as the evocatively humane Medic Wade. Berry Pepper is fiercely magnetic as the "Hand of God" sniper Private Jackson, and Vin Deisel is rock solid as Private Caparzo.
And then, of course, there is Tom Hanks as Captain Miller, who more and more seems to be filling the role of the Jimmy Stewart of our generation. His impressive performance is perhaps his most complex, and reveals a reluctant hero who is motivated by necessity as he struggles with his own weaknesses. Personally, I think this is the best work yet. (God, I can't wait to see "The Green Mile.")
Eventually, after more than one harrowing episode, we and the company finally find Private Ryan, who is perfectly realized by Matt Damon in this relatively small but all-important role. Damon quickly and decisively infuses the part with a humanity and character that is resonant and crucial to the success of the film. When Miller tells him of their orders to take him home, he refuses on the grounds that he has orders of his own -- to hold a crucial bridge in a devastated village from German hands. Needless to say, this noble decision complicates matters, and Miller ultimately decides to add his company to the assignment, hoping to fulfill both objectives with only a handful of resources available to him. From here we enter the harrowing climax of the film, which is absolutely spellbinding.
At the end of the journey, just before the epilogue, I found my heart in my throat, which was constricted and strained in a way I've never quite felt before. It was physically painful in a way that's hard to describe, but once I found myself at the end of the long road I'd travelled with these characters for almost three hours, I was literally choked up with emotion, on the brink of tears. I had made several great friends, and lost far too many of them, watching them die brutally, powerless to interfere. And what remained carried with it a heavy toll, which challenged my composure.
This is a film that is not easy to watch, nor should it be, but is worth the investment of effort as it is immensely rewarding. It is a film you should see, but I would advise parents not bring children under 15 or so. This film is rated R for a very good reason, though I am very annoyed by those who have been critical about the amount of graphic violence in the film. This is a WAR MOVIE, for crying out loud. To criticize the visceral nature of the film is stupid as well as insulting, not just to the film but to those soldiers who died on the beach at Normandy. This film is a powerful testament to the horrors of war, and it would be ineffective if it weren't so brutally honest about the reality of combat. This is not a glorification of violence, but the exact opposite. In fact, part of me wants to stick all those adolescents addicted to video game violence into a theater, and shake them out of their inhumane desensitivity to violence. But I digress...
Back to the film. Janusz Kaminski's cinematography is, as always, extraordinary. He paints a haunting picture in desaturated hues, with gray-blue skies reigning over soft green landscapes populated with pale flesh tones contrasting against shocks of red blood. John Williams' score is restrained, sparse, but immensely powerful. His "Hymn To The Fallen," which plays over the end credits (instead of some horrid pop song, thank you very much), is among the most beautiful work he's ever written, and is demonstrative of the fact that he is one of the greatest composers of this century. Robert Rodat's screenplay (which, I believe, benefitted from extensive contributions by the divine brilliance that is Frank Darabont) is tight and balanced, with well-defined characters and a strong narrative arc. Michael Kahn's editing is little short of amazing, and Ronald Judkins' sound is absolutely incredible, with wondrous sound design by the masterful Gary Rydstrom. Tom Sanders' production design is perfection, with dead-on art direction supervised by Daniel Dorrance, sets by Lisa Dean Kavanaugh and costumes Joanna Johnston. Very nice visual effects by ILM, supervised by Neil Corbould.
Another thought I had about the film is that it serves as a bookend of sorts to "Schindler's List," in that it explores the same theme (the value of human life) during the same historical period (World War II), but from contrasting points of view (the Holocaust vs. the invasion of Normandy) and scale (the lives of many vs. the life ofjust one). And while "Schindler's List" tells its story mainly through narrative, "Saving Private Ryan" tells its story primarily through visuals. Yet both are films that could only be made by Steven Spielberg, and bear his signature indelibly. They stand in testament to his status as one of our greatest filmmakers, and bear promise of more great films to come.
I can't wait to see them.
- Robogeek
